CAA 2019 Sessions of Interest
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Session NameTypeChairs/Leaders/HostsDateTimeLocationDescriptionParticipants and Papers
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Cross-Purposes or Cross-Pollination: The Art Library in the 21st CenturySessionKathleen E. Salomon
Getty Research Institute
Wednesday, 2/138:30 - 10:00 AMNY Hilton -- 2nd Floor -- Gramercy WestAs colleges and universities invest in a variety of programs geared toward the digital humanities and digital art history, the library is often a partner, opening its doors to create and support labs and makerspaces, providing students and faculty with the tools for innovation and spaces for collaboration. Similarly, specialized art research libraries and institutes outside the academy are considering the impact and integration of evolving digital research methods on their programs and spaces as they move further into the 21st century. Proposals over past years by some academic and research institutions seeking to move traditional art library print resources to centralized and often remote locations in favor of increasing spaces for technology have been highlighted and argued in arts newsletters, blogs, petitions, and letters of support from eminent scholars and laypersons, demonstrating that what might be viewed by some as evolution is neither straightforward nor uncontroversial. As American art libraries continue to move away from onsite browsable book stacks, disagreements by researchers over this trend remain passionate and sometimes prevail, even while spaces for teamwork and technological innovation are at a premium. Discovery in the stacks is still seen by many as critical for research, particularly in institutions outside of the US, yet others argue that online research tools mitigate the treasured concept of serendipity. This panel features papers from art historians, students, and librarians regarding the intersection of traditional uses and innovative programming within art library spaces.The Case for On-Site Art and Design Reference Collections: Browsing as a Research Method and Pedagogical Tool
Janine J. Henri, University of California, Los Angeles
Reviving the Art Library
Marcia C. Reed, Getty Research Institute
The Republic of Research: Placing the Media Spectrum in the Arts Library
Hannah B. Bennett, University of Pennsylvania
Libraries as Relays
Kurt Forster, Yale School of Architecture
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State of the Art (History): Engaging Difficult Topics in and out of the ClassroomSessionParme P. Giuntini
Otis College of Art and Design
Wednesday, 2/138:30 - 10:00 AMNY Hilton -- 3rd Floor -- Trianon BallroomFrom introductory surveys to upper division courses, Art History classes are increasingly sites for discussion of “difficult topics.” Controversies around the removal of Confederate Monuments and the popular activism inspired by movements like #BlackLivesMatter, #MeToo, and #NeverAgain have called attention to inherent bias and systemic racism embedded within our cultural and academic institutions, and within our own disciplinary practices. Addressing these issues often involves projects and applied learning activities that encourage students to engage with the issues beyond the classroom, reinforcing the relevance of Art History to unpacking and critically analyzing the issues involved. Faculty teaching these topics must not only deal with the sensitivities and difficulties of raising controversial issues in the classroom, but also the pedagogical challenges that inevitably occur with a diversity of student positions and the need to be thoughtful and inclusive in order to foster authentic debate. This session features short talks on courses, projects, pedagogies, and activities that offer strategies for engaging, fostering, and facilitating discussions on difficult topics at all levels of Art History instruction. The session will be facilitated by ArtHistoryTeachingResources.org (AHTR) in collaboration with Art History That.Addressing Difficult Social Issues in Art Appreciation
Damon McArthur, Western Illinois University
Teaching Art History in the Trump Age: Illustrating Past and Present
Alexis Culotta, N/A
The Academic Museum as a Bridge to Current Events in the Classroom
Kimberly A. Musial Datchuk, University of Iowa
The “Huddled Masses” Made Human: Using Nineteenth-Century Nativist Imagery to Discuss Immigration Policy
Whitney Thompson, Fashion Institute of Technology, State University of New York
Information Literacy and Difficult Topics: Aztec Clickbait as Critical Pedagogy
Mya B. Dosch, , California State University, Sacramento
F*ck Picasso!” and Other Conversations with Students
Emily Everhart, Art Academy of Cincinnati
Cultural Appropriation or Cultural Appreciation? “Decolonize” Asian Art in the Classroom
Mariachiara Gasparini, UC Riverside
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Hot and Bothered: Tackling Sexual Harassment and Assault in Higher Education

THE FEMINIST ART PROJECT
SessionAnonda Bell
Rutgers University
Connie Tell
Rutgers University, The Feminist Art Project
Wednesday, 2/1310:30 - 12:00 PMNY Hilton -- 3rd Floor -- Trianon BallroomAttending or working in a place of higher learning comes with inherent dangers—40% of female identified faculty and 30% of female identified staff experience sexual harassment, and one quarter of all female identified students are assaulted while attending college. This panel will present artists, feminist scholars, and academics who have responded to this phenomenon. Topics include: artists’ strategies for effective responses; how representation of gender stereotypes fuel the phenomenon; how artists can challenge and change a culture which normalizes harassment and toxic “rape culture” within educational settings; the physiological effects of harassment; formal reporting strategies—does the system work; backlash and repercussions in the academy. A Guide to Upsetting Rape Culture
Hannah L. Brancato, FORCE: Upsetting Rape Culture
Against My Will: A Multigenerational Collaboration with Sexual Assault Survivors
Traci Molloy, Independent Artist and Education Activist
Fourth Wave Czech Made: Resisting Harassment in Academia in Central and Eastern European Context
Zuzana Štefková, Charles University
30 Years of "I Never Called It Rape": A Retrospective on the Landmark Study on College Rape
Salamishah Margaret Tillet, Rutgers University–Newark
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The Role and Impacts of the Arts in Research Universities: Learning from Interdisciplinary Teams

ALLIANCE FOR THE ARTS IN RESEARCH UNIVERSITIES
SessionGabriel Harp
The Alliance for the Arts in Research Universities
Wednesday, 2/1310:30 - 12:00 PMNY Hilton -- 2nd Floor -- Gramercy WestThis session aims to represent different ways that arts-driven interdisciplinary work takes place in research universities. It is for those faculty, students, staff, and academic leadership reflecting on how they collaborate at the intersections of disciplines. This includes researchers, scholars, teachers, and practitioners engaged in arts- driven collaborations that lie within and beyond the academy, but which at some point in their process depend on academic review in the establishment of rigor and impact. We want to surface the roles and impacts of the arts in the research university, and presenters will explore how working in interdisciplinary teams has transformed their practice, research or teaching; led to new audiences and provided breakthroughs. This session hopes to connect a robust, critical community of practice in support of such work, while sharing best practices for interdisciplinary collaboration to spheres of practice in and beyond higher education.
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Decolonial Strategies for the Art History ClassroomWorkshopAmber Hickey
University of California, Santa Cruz
Anastasia Tuazon
Stony Brook University
Wednesday, 2/132:00-3:00 PMNY Hilton -- 3rd Floor -- Americas Hall II -- Workship Room IWe come together in this open workshop format to discuss how we are working toward decolonizing our art history classrooms. Participants may come simply to listen and ask questions or be ready to share their own decolonial pedagogical practices.
Free and open to the public, however, advance registration required.
Depending on availability, tickets may be obtained on-site in the conference registration area.
This workshop is generously supported by the Emily Hall Tremaine Foundation.
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How to draw a Cup: Step one: draw a cup - Inside Out and Back - Learning Personal Creativity Through Visual LiteracyWorkshop
David Jacobsen Loncle
Wednesday, 2/132:00-3:00 PMNY Hilton -- 3rd Floor -- Americas Hall II -- Workship Room IIHow do we develop the unique creativity of our students? The workshop is designed for educators at any career level.
Through a simulated class, participants are placed in the role of student for an introductory drawing lesson intended to provoke creative engagement by enhancing sensitivity to and awareness of visual productions.
*update* MATERIALS: Participants should come prepared with: readily erasable drawing material - i.e. vine charcoal, an eraser, and paper - 14x17" or larger preferable.
Free and open to the public, however, advance registration required, click here.

Depending on availability, tickets may be obtained on-site in the conference registration area.
This workshop is generously supported by the Emily Hall Tremaine Foundation.
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Respond and Adapt: A Fuse of Art and the Other

MID AMERICA COLLEGE ART ASSOCIATION
SessionChung-Fan Chang
Mid America College Art Association
Julie Marcelle Abijanac
Columbus College of Art & Design
Wednesday, 2/132:00-3:00 PMNY Hilton -- Concourse -- Concourse GIn our current creative landscape, artists and educators must constantly respond and adapt in order to remain vital and relevant. What arises from this challenge often involve expanding, revisiting, and experimenting ideas through individual practices and pedagogy. How do artist and educator continue to maintain interdisciplinary, acting as a dynamic pioneer to societal trends and producing new conversation around issues in the society? How do educators engage and inspire students to push boundaries? This session focuses on interdisciplinary projects that involve science and technology; integrating diversity; promoting collaborative venture; emphasizing the conceptual fusion of separated media, and incorporating media/disciplines outside the established parameters of the arts.Collaborative Practices to Activate Social Engagement: An Art History Case Study
Jeannine Kraft, Columbus College of Art & Design
Tactile Translations: Teaching in Three-Dimensionality and Object Making in a Flattening Virtual World
Andrea J. Myers, Kent State University at Stark
Alternative Education
Danielle Norton, Columbus College of Art & Design
Art+Music {Notations}
Valerie Powell, Sam Houston State University
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Teaching Art History in the Wake of #MeTooSessionCynthia S. Colburn
Pepperdine University
Ella Julian Gonzalez
Pepperdine University
Wednesday, 2/132:00-3:00 PMNY Hilton -- 3rd Floor -- Trianon BallroomCollege art history classes are often the first time students have exposure to a vast array of visual cultures through space and time. The canon of art historical works often covered in these classes is well trodden by professors, and includes many works that depict acts of violence against women including rape, abduction, and murder. The impressive formal qualities of such works are often highlighted in textbooks, and presumably by extension in some classrooms, often at the expense of in-depth discussion of the content and context of such works. This may have the effect of normalizing acts of violence against women in the eyes of our students, violence that, through the lens of art history, is seen to be global and span millennia. In the wake of the #MeToo movement with so many women coming forward about their experiences with sexual harassment and assault, it is crucial to reassess the way we teach and write about the art historically important works that portray violence against women and examine the role the discipline of art history may play in current social movements. This session features papers from art historians who have been grappling with these issues in their writing and classrooms and have found ways to give voice to the women depicted in such works and open up the discussion of assault against women in these images in a meaningful way that empowers students.On Frida Kahlo, Salma Hayek, and Linda Nochlin: A Classroom Case Study of Art, Gender, and Pain in the Wake of #MeToo
Ellen C Caldwell, Mt. San Antonio College
Teaching Greek Art in the #MeToo Age
Cynthia S. Colburn and Ella Julian Gonzalez, Pepperdine University
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University Galleries: Strategies for Active Engagement

ARTSPACE
Session
Patricia A. Briggs
Jamestown Community College
Steven Rossi
Parsons School of Design/State University of New York at New Paltz
Wednesday, 2/132:00-3:00 PMNY Hilton -- Murray Hill Suite Free from market constraints university galleries are uniquely situated to show innovative and experimental work. This panel will bring together a mix of gallery directors, artists, and educators to discuss successful approaches for organizing campus exhibitions and collaborations. Panelists will share projects, discuss their strategies of engagement with the wider campus community, and offer advice on approaching campus galleries for exhibition opportunities.Beau Kenyon
Northeastern University College of Arts, Media, and Design
Jeanne Brasile
Walsh Gallery, Seton Hall University
Hollis A. Hammonds
St. Edward's University
Natalia A Zubko
Parsons School of Design
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Do Studio Art Classes Require Trigger Warnings?SessionDaniel GrantWednesday, 2/134:00-5:30 PMNY Hilton -- 3rd Floor -- Trianon BallroomWhat may and may not be discussed or displayed in a studio art course? Recent incidents have revealed a lack of guidelines in this area in which frank talk by instructors and the use of controversial imagery may result in those instructors losing their jobs. Meanwhile, art students themselves are regularly pushing the boundaries of acceptability, raising the question of how an instructor is to work with students whose art creations may be seen as offensive to some. It is in no way clear that instructors are permitted to encourage art projects on the basis of the freedom of expression, because they may risk losing their jobs if someone claims to have been offended. My seminar would look at certain issues: Are instructors supposed to get clearance from department heads or school administrators before bringing up certain topics and assignments in order to not risk losing their jobs? How are studio art instructors supposed to respond to potentially offensive student artwork? What is a Title IX investigation, and how should art faculty prepare? And, how should MFA students, most of whom look to teach on the college level, be trained for an academic career in which their own art and ideas, as well as those of their students, may produce strong and problematic reactions?Will a New Agitprop Take Hold of the Art World?
Elliott I. Barowitz, Drexel University
On Being a Trigger
Aliza Shvarts, New York University
Triggered by Truth
Deanna Jean Bowen, University of Toronto Scarborough
Do Studio Art Classes Need Trigger Warnings?
Michael L. Aurbach, Vanderbilt University
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Global Conversations 2019—Creative Pedagogy: Mapping the In Between across Cultures

INTERNATIONAL COMMITTEE
Session
Nazar Kozak
National Academy of Sciences of Ukraine
Thursday, 2/148:30-10:00 AMNY Hilton -- 2nd Floor -- Nassau WestArt history curricula tend to provide imaginary shelves on which each artwork can be assigned to a normative chronological and geopolitical place. In practice, however, such systems have difficulties in accommodating phenomena that fall in between proposed categorizations. Just as cosmology's Dark Matter shapes the universe while remaining directly unobserved, such cross-cultural entanglements, despite having substantially impacted art processes, still remain largely unexamined in classrooms. Often, Homi Bhabhaâ€TMs notion of hybridity is embraced, albeit through tokenism, without much attention paid to the structural predicaments of curricula. How does mapping in between spaces across cultures revitalize art history as a global discipline? How can it reinforce a critique of cultural purity, a notion that underlines racism? And, ultimately, how do we creatively teach about aspects of this complex topic, be it in universities, in museums, or non-traditional settings? Structured around
creative pedagogy, this session considers specific historical cases from a teaching perspective, moving toward inclusive and collaborative paradigms, especially in mixed-class environments with students and faculty from different countries. The panelists, who are CAA-Getty International Program alumni from Asia, Latin America, and Eastern Europe, share teaching methods that effectively bridge divides, at the same time providing theoretical bases for transcultural dialogue and reciprocal enrichment. The aim is to contribute to the ongoing shake-up in the art historyâ€TMs imaginary shelves, making them lose their fixed locations and reveal instead multi-layered and dynamic intersections across cultures and identities.

An Italian in China: The Curious Case of Giuseppe Castiglione
Chen Liu, Tsinghua University
Pedagogy of the Transborders: Reviewing East European Art from the Perspective of Transatlantic Cultural Exchanges with Latin American and African Cultures
Katarzyna Maria Cytlak, Centro de Estudios de los Mundos Eslavos y Chinos, Universidad Nacional de San Martín,
Images of Guru Nanak: Locating Patterns of Words in Images
Nadhra Shahbaz Khan, Lahore University of Management Sciences
Cross-Cultural Encounters through Creative Pedagogy in Teaching Art History
Sarena Abdullah, Universiti Sains Malaysia
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Old Wine, New Wine, and What Bottle Should We Use?

NATIONAL COUNCIL OF ART ADMINISTRATORS
SessionDavid LaPalombara
Ohio University
Charles Kanwischer
Bowling Green State University
Thursday, 2/148:30-10:00 AMNY Hilton -- 2nd Floor -- Nassau EastWhat does expertise in a craft signify in a new and rapidly evolving media world? Is there a future for disciplinarity in an interdisciplinary world? This panel will consider how we define and create productive relationships between traditional and new media, fine and applied art and design, and how programs can maintain disciplinary coherence while sponsoring interdisciplinary work. Important to this consideration is how first-year foundations programs can set the stage for disciplinary practice, as well as challenge critical thinking about disciplinarity.The Interdisciplinary Dinner Party: Pull Up a Chair and Raise Your Glass!
Robin A. Cass, Rochester Institute of Technology
New Media = New Foundations
Arne R. Flaten, Ball State University
The Kids Are Alright—And They Will Determine the Future of Art
Troy Richards, Fashion Institute of Technology, State University of New York
Paradigms of Tradition and Innovation in Arts Pedagogy for the Global 21st Century
Joanna L. Grabski, Arizona State University
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Teaching Design Studies: Practice, Methods, and Resources
SessionPANELIST
Ellen Lupton
Cooper Hewitt, Smithsonian Design Museum
CHAIRS
Carla Cesare
University of Cincinnati, Blue Ash College
Gretchen Alana Von Koenig
Parsons, The New School
DISCUSSANT
David Raizman
Drexel University
Thursday, 2/148:30-10:00 AMNY Hilton -- 2nd Floor -- RegentDesign Studies (design history and theory) has reached a critical point in its development. Current resources have developed from art history, having little to do with the design studio experience. The results are students who struggle to engage with the material in these courses, faculty that do not understand the studio experience, and the means to bridge that gap. This panel addresses those issues, the direction of design studies and what can be done in training design historians and theoreticians; the critical engagement of students with the history and theory; and bridging the gap with practice. This panel will question the methods we employ in teaching– content, pedagogy and curricular structure—are they creating a barrier between the course objectives and the students’ ability to translate this knowledge? How can educators engage writing and research into practice-based pedagogy, teaching the value of these skills to the design student? Is the curricular sequencing effective in promoting knowledge transference to other areas of students’ education, or is coursework siloed? Studies reveal that while employers rank “Critical Thinking” as the top skill (above technical skills), only approximately half of graduates possess “proficient” critical thinking skills- a deficit that design studies courses could improve. For a 90-minute session, we propose a mix of presentations and a panel discussion with academics, practitioners, curators, etc. Confirmed invitee panelists are David Raizman and Timo de Rijk our goal is to create a dialogue about the next stage of design studies and the future of resources, pedagogy, and methodology.Designing Cultural Objects: Cultural Design Anthropology as Innovation in the Classroom
Kenneth Segal Sr., Hadassah Academic College Jerusalem and Jonathan Ventura, Hadassah Academic College
Teaching the Unpredictable: Co-Teaching in Museum Practicum Courses
Keren Ben-Horin and Sarah C. Byrd, Fashion Institute of Technology, State University of New York
Making Design History Matter
Kjetil Fallan, University of Oslo
Ephemeral Materiality: Problematizing Design
Claudia Marina
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The Technology Divide: Tensions between the Hand, New Media, and Studio Art PedagogySession
Jason A. Swift
University of West Georgia
Thursday, 2/148:30-10:00 AMNY Hilton -- 2nd Floor -- Gramercy WestThis session is organized by Integrative Teaching International (ITI) to gather participants in a platform for collaborative research, discussion, and investigation of practices and philosophies identifying innovative approaches that address the impact of technology and new media upon higher education in the arts, creative practices and the tensions between slow art, the digital generation and studio art pedagogy. The session panel is modeled after the breakout sessions of ITI’s ThinkCatalyst and ThinkTank events. Each panelist will give a brief introduction on a topic, concept or philosophy applicable to current trends and tensions between slow art and the growing reliance upon emerging technologies that negate or challenge the hand (slow art) in studio art pedagogy and practice. Then, a collaborative discussion to generate ideas, content, challenges and new approaches will take place with the session attendees. The session chair will organize the documentation of these discussions with the end goal to produce new content (both theoretical and applied) that results from the collaborative discussions between panelists, facilitators and the session attendees.Hand vs. Machine
Raymond Yeager, University of Charleston
Does the Digital Medium Discourage Student Ideation and Refinement of Projects?
David Smith, Auburn University
Eliminating Command Z: Analog Techniques in a Digital Discipline
Nina L. Bellisio, St. Thomas Aquinas College
Fusion Foundations: Design, Technology, Time, and Space
Christopher S. Olszewski, Savannah College of Art and Design
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The Visual Culture of Art History EducationSessionJean E. Robertson
Herron School of Art and Design, Indiana University
Thursday, 2/148:30-10:00 AMNY Hilton -- Concourse -- Concourse GLearning about art history has involved an evolving array of visual technologies and resources over centuries, including drawings by people who could travel to see art in person, engraved reproductions, black-and-white photographs, color photographs, slides, film and video documentation, and the variety of computer-mediated formats available today. Learning and pedagogy are profoundly impacted by the ability (or inability) to see objects of art history in person, and by the particular kinds of illustrations, libraries, and databases that are available for study. This session considers some of the media and formats that represent art, analyzing how the visual means condition art historical understanding and interpretation. How has education adapted to changing resources for representing and illustrating art? What is gained when the visual culture of art reproduction and illustration makes a substantial shift to new tools? What, if anything, is lost or lessened? What new or different questions and forms of interaction with art are enabled? How do available visual resources connect to “real” experiences of seeing art in person? The presentations in this session consider how a variety of particular visual resources impacted the study of art history within specific historical contexts.Crumbling Plaster: The Failure of Art History as a Social Science
Rachel Hooper, Savannah College of Art and Design
Art for Schools in Victorian England
Andrea Korda, University of Alberta
Art or Artifacts? Recreating the Collection of the Byrdcliffe Library
Erica Obey, Independent Scholar
Making a Meaningful Online Field Trip
Veronica V. Davies, The Open University
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Design Disciplines Unite! - How can CAA Better Serve Practitioners and Educators?RoundtableHolly Cline
Radford University
Zachary Kaiser
Michigan State University
Thursday, 2/1410:30-11:30 AMNY Hilton -- 3rd Floor -- Americas Hall II -- Orange TableDesign Disciplines Unite! - How can CAA better serve practitioners and educators? Bring your ideas about how CAA can be more inclusive to members who affiliate themselves with Design or as a Designer.
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Technology in the Art Studio Classroom: Uses and AbusesRoundtableJason A. Hoelscher
Georgia Southern University
Thursday, 2/1410:30-11:30 AMNY Hilton -- 3rd Floor -- Americas Hall II -- Green TableWhile lecture and seminar classes have long incorporated technologies like projectors, clickers, dropboxes, laptops and smartphone apps, studio classes have largely stuck with the tools and materials relevant to their discipline. What potentials, problems, opportunities and distractions might visible and invisible technologies open up when brought into the studio context?
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Visual Literacy Practice for Art StudentsRoundtableLaura Kuhlman
Cengage Learning
Paula Dohnal
Cengage Learning
Thursday, 2/1410:30-11:30 AMNY Hilton -- 3rd Floor -- Americas Hall II -- Red TableAs students are learning how to recognize and reflect on the components of art, specialized learning tools can be a game-changing advantage. In this session, Cengage’s Art team invites participants to an exploratory discussion and activity on what visual literacy means for Art History and Art Appreciation students.
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Using OERs for Teaching and ResearchSessionRebecca Jeffrey Easby
Trinity Washington University
Ian McDermott
LaGuardia Community College, City University of New York
Thursday, 2/1410:30-12:00 PMNY Hilton -- Concourse -- Concourse GSponsored by CAA’s Education Committee, this session will look at current issues in the development, integration, and ongoing debate on the use of OERs (Open Education Resources) in the teaching of studio art, design, and art history. As more institutions consider the move toward OERs, Zero (or Reduced) Textbook Cost course policies, and funding initiatives that encourage faculty to develop open access content, instructors must ask new questions about how reliance on these materials might affect both their teaching practice and student learning in their classes. Presentations will provide a broad overview of this topic from diverse perspectives including administrators, content-providers, librarians, students, and faculty in art and art history who have experience with OERs. Questions might include: What are the advantages and concerns surrounding the use of OERs? What materials (online textbooks, MOOCs, archival resources) exist and are being used? How are they accessed or vetted for quality and academic rigour? How should faculty development of OERs be compensated and positioned alongside institutional expectations for scholarly activity and publication? What evidence exists about their effectiveness, and their promise of greater accessibility to meet students’ needs? How might their use require or suggest changes in pedagogies of art, art history, and other related subjects? How might changes in net neutrality impact use of OERs in higher education? Our goal for this session is to increase awareness, stimulate discussion, and explore the implications of the growing body of OERs available for teaching and research in visual arts education.Terms of Production: Collaborative Frameworks for Open Creative Cultures
Suzanne Rackover and Cissie Fu, Emily Carr University of Art + Design
When a Textbook Is Not an Option: Developing and Managing OERs for Online Art History Courses
Josh Yavelberg, University of Maryland University College
Teaching Asian Art with OERs: From Survey to Seminar
Kristina R. Kleutghen, Washington University in St. Louis
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Whiteness and Art Education: Developing a Reflexive PracticeWorkshopHannah HellerThursday, 2/1411:00-12:00 PMNY Hilton -- 3rd Floor -- Americas Hall II -- Workshop Room 2This workshop focuses on developing a reflexive teaching practice, looking at manifestations of whiteness in art education. Participants will learn about different definitions of whiteness and what its impacts are for education and engage with different critically reflective techniques to evaluate various impacts of their racial identity in practice.
Free and open to the public, however, advance registration required click here. Depending on availability, tickets may be obtained on-site in the conference registration area.
This workshop is generously supported by the Emily Hall Tremaine Foundation.
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Demystifying Museum Internships and FellowshipsPanelWilliam T Gassaway
The Metropolitan Museum of Art
Elizabeth A. Perkins
The Metropolitan Museum of Art
Thursday, 2/1412:30-1:30 PMNY Hilton -- 3rd Floor -- Americas Hall II -- Workshop Room 1This workshop brings together managers of internship and fellowship programs at US museums to lead participants through group discussions on topics such as how to identify the best internship and fellowship opportunities for their personal trajectories and how to craft strong, tailored applications. The workshop is designed primarily for students, but faculty seeking information for their students are encouraged to attend as well. Free and open to the public, however, advance registration required. Depending on availability, tickets may be obtained on-site in the conference registration area. Hosted by Academic and Professional Programs, Metropolitan Museum of Art.
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Do "Safe Space" Regimes Threaten Provocative Curricula?
RoundtableJonathan Friedman
PEN America
Thursday, 2/1412:30-1:30 PMNY Hilton -- 3rd Floor -- Americas Hall II -- Green TableCalls to make campuses "safe spaces" have led to concerns that speech and creative expression may be curtailed in the interest of sparing students from offense or discomfort. This discussion, led by representatives from PEN America, will examine whether art professors can protect a place for provocation in the classroom.
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Cultivating an Equitable Classroom EnvironmentWorkshopCarrie Elizabeth Neal
Parsons
Thursday, 2/142:00-3:00 PMNY Hilton -- 3rd Floor -- Americas Hall II -- Workshop Room 1Come for a facilitated conversation about strategies for building syllabi and projects that center student learning in an engaged and equitable way. Faculty will leave with guiding questions for shaping their own syllabi and projects, information on social emotional capacities, sample community operational agreements, and a sample inclusion statement. Please bring: a journal or notepad and something to write with.
Free and open to the public, however, advance registration required, click here. Depending on availability, tickets may be obtained on-site in the conference registration area.
This workshop is generously supported by the Emily Hall Tremaine Foundation.
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Digital Projects in Art History: NEH Funding OpportunitiesRoundtableGeorge Lazopoulos
National Endowment for the Humanities
Thursday, 2/142:00-3:00 PMNY Hilton -- 3rd Floor -- Americas Hall II -- Red TableNEH program officers will discuss funding opportunities for digital projects in art history, including support for digital resources, tools, and methods that aid scholarly research and create access to art historical collections, as well as support for websites, mobile applications, games, and virtual environments for a public audience.
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Pedagogies of the Artist: Engaging teaching strategies for MFA Studio Art TAsRoundtableBarbara Bergstrom
Bowling Green State University
Thursday, 2/142:00-3:00 PMNY Hilton -- 3rd Floor -- Americas Hall II -- Blue TableThis roundtable will address motivating studio art pedagogies that are employed by graduate TAs. Participants are encouraged to ask questions, trouble-shoot, and share experiences. Teaching an undergraduate student to “think like an artist” is challenging, so attention will go to specific lessons, engaging strategies, reflective practices, and other participant concerns.
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The Dictionary of Art Historians: What it is, how to use it, and ways to contributeRoundtableLee Sorensen
Paul B. Jaskot
Duke University
Hannah L Jacobs
Duke University
Thursday, 2/142:00-3:00 PMNY Hilton -- 3rd Floor -- Americas Hall II -- Green TableThe Dictionary of Art Historians is a free, open biographical database of western art historians. This exchange introduces the Dictionary as a research tool. It's an opportunity for scholars to learn about the information in the database, ask questions, and learn how they can contribute.
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Decolonizing the Web: Challenging the Limitations of Internet and Art Portal DiscoverabilitySessionConstance Cortez
University of Texas Rio Grande Valley
Thursday, 2/142:00-3:30 PMNY Hilton -- 2nd Floor -- Sutton SouthWhen researching images, scholars and the public are often challenged by discoverability of non-canonical artwork on the Internet and institution-based art platforms. Web searches often frustrate those investigating Latinx, African-American, Native-American, or Asian-American art. While complexities of identity contribute to problems of discovery, historically marginalized groups are also difficult to locate because conventional metadata and cataloging systems emerge from colonial cultural codes, European aesthetic traditions, and/or normative expectations about art practice. For example, none of the controlled vocabularies, including Getty Art and Architecture Thesaurus, can account for a “piñata,” although the word has entered the English lexicon. Given such circumstances, what of those having little or no knowledge of these fields? In the Southwest, public school educators have felt the urgency for discoverability intensify due to recent legislation mandating the integration of Latinx Studies into Public School curricula. Since it is common for teachers of social studies and history to illustrate eras or issues via imagery, they too depend upon the accessibility of artworks. This session engages in the challenges of discovery for non-canonical artwork to address: the integration of specialized vocabulary into existing platforms; the creation and maintenance of a thematic or culture-specific platform; linkage and finessing metadata with other institutions; dealing with larger/national institutions that just don’t “get it”; and problems specific to Public School usage of platforms.Boosting Discoverability, Working against Privilege: The Asian American Arts Centre
Karen Li-Lun Hwang, Metropolitan New York Library Council
On Public Online Access to Visual Databases: Focusing on Chicana/o Murals of California
Gabriela Rodriguez Gomez, N/A
Rhizomes of Mexican American Art since 1848: A New Platform to Improve Discoverability
Karen Mary Davalos, University of Minnesota
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Social Practice and Service LearningSessionEllen Mueller
Minneapolis College of Art and Design
Karen Gergely
Graceland University
Thursday, 2/142:00-3:30 PMNY Hilton -- Concourse -- Concourse GBased on feedback from our Teaching and Social Practice roundtable from CAA 2018, we are calling for presentations from artists, designers, and art historians, which examine similarities and differences between social practice and service learning, as well as identifying approaches, tools, and best practices that can be useful for either or both. Further, this panel also features examinations of cross-campus collaborations integrating socially-engaged practice, service learning, and other disciplines. For the purposes of this panel, we will categorize social practice as social engagement and collaboration with individuals, communities, and institutions as a form of participatory art. Service-Learning will be defined as a pedagogical method designed with the mission of student attainment of discipline-specific knowledge through creatively designed active learning community-based projects benefiting community members or groups (UMass Dartmouth Leduc Center for Civic Engagement).Improving Social Practice through Service Learning Pedagogy
Kimberly Callas, Monmouth University
Art in Public: Audiencing and Engagement
Jennifer E. Ustick, University of Cincinnati
Empathy and Politics: Negotiating Student Approaches and Community Impact
Leslie M. Robison, Flagler College
Metropolis—Studying in the City
Karni Barzilay, Curator of Kav 16 - Community Gallery for Contemporary Art, Tel Aviv
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Teaching Art as Social Action: Pros, Cons, Observations, Experiences

RADICAL ART CAUCUS
SessionJeffrey Kasper
Chloë Bass
Queens College Art Department
Thursday, 2/142:00-3:30 PMNY Hilton -- 2nd Floor -- Gramercy WestSocial practice art is an emerging, interdisciplinary field of research and practice that pivots on the arts and humanities while embracing such external disciplines as environmental and labor studies, public architecture, political organizing and activism as well as pedagogy. Its overall objective is not to merely make art that represents socio-political injustice (think Picasso’s Guernica), but to employ the varied forms offered in the expanded field of contemporary art as collaborative, collective, and participatory social method for bringing about real progressive justice and transformation. This session brings together leading social practice art educators to discuss strategies for teaching socially engaged art. It will offer both a general introduction to the field as well as specific lesson plans and curricula that demonstrate what makes this emerging field unique and of growing interest to artists, historians, critics, theorists, museums and above all teachers of art. Topics to be discussed include creating an “intimate education” for socially-engaged art that takes in consideration the students own social positionality and relation to the world as a starting point to collaborative practice; direct action and alternative organizing; urban imaginaries in art and research; anti-bias work; and collective learning, among others. Presentations address these concerns and/or report on successful or failed attempts at teaching art as social action. Organized by Social Practice Queens (SPQ) at Queens College: Gregory Sholette, Chloe Bass, and Jeff Kasper.Spaces of Learning
Susan Jahoda, UMASS Amherst
Why Socially Engaged Art Can't Be Taught
Jen Delos Reyes, University of Illinois at Chicago
Walking the Talk: Despite the Institution
Beverly E. Naidus, University of Washington, Tacoma
We Live in Activist Times: Social Praxis Art, Art Activism, and the Political
Todd M. Ayoung, Pratt Insitute
Audacious Acts: A Means of Empowering Students and Future Activists
Sheryl A. Oring, University of North Carolina Greensboro
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Where are all the Students? Boosting Engagement and Enrollment in Art CoursesExhibitor ProposalFred Kleiner
Boston University
Thursday, 2/142:00-3:30 PMNY Hilton -- Concourse -- Concourse EAs sponsors for the CAA conference, Cengage is excited to propose "Where are all the Students? Boosting Engagement and Enrollment in Art Courses" as a panel conversation led by Art History author and Boston University professor, Fred Kleiner. Joining Fred Kleiner will be Jennifer Pride, Art History online faculty and subject matter expert for the School of Visual and Performing Arts at Liberty University, and a current art student.
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Art and Justice: New Pedgogical ApproachesSessionCourtney Skipton Long
Risa Puleo
Thursday, 2/144:00-5:30 PMNY Hilton -- 2nd Floor -- Gramercy WestConsidering the intersections between visual culture and criminal justice, this panel seeks to address how scholars and artists can engage in questions of social justice and activism responsibly. As issues of policing, criminal justice, and mass incarceration reach unprecedented heights around the world, this panel foregrounds papers offering insights into how we as art historians, artists, critics, museum curators, and educators might intervene to affect change. What methodological and pedagogical shifts to our practices do we need to make in order to ensure that historical inequalities and prejudices are not replicated when engaging in issues of social justice and activism? How should we reflect on our positions within the academy, the museum, or the studio to dismantle internalized personal and disciplinary biases as a means to activate the frameworks of our disciplines to contribute different perspectives in the production of a new social landscape? What critical terms need to be established when art engages social justice? And, when do we fail in our attempts at activism? This interdisciplinary panel seeks to foster a conversation about visual culture and criminal justice to explore the various ways in which policing, prisons, prisoners, mass incarceration, and their visual and material culture have been represented, portrayed, studied, displayed, and collected. Papers presented by practitioners in all arenas of the arts will address how art historians, artists, critics, museum curators, and educators have consciously reframed their practices to encourage reflection, support dialogue, and respond to changes in judicial systems and social activism across time.In Vinculis Invictus: Portraits in Prison
Olivier Meslay, Clark Art Institute
The Criminal” in the Classroom: An Interdisciplinary Approach
Lauren Boasso, University of New Haven
Will It Grow or Strengthen the System? Thinking Abolition in Art Practice
Ashley Hunt, N/A
A Mirror, a Hammer, or Neither? Art and the Fact of the Prison
Mary C. Patten, School of the Art Institute of Chicago
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"Wicked Problems" in Visual Arts Education

EDUCATION COMMITTEE
SessionVirginia B. Spivey
Thursday, 2/144:00-5:30 PMNY Hilton -- Concourse -- Concourse GCAA’s Education Committee invites members across disciplines and institutional boundaries to take part in this interactive discussion-based session. Originating in the fields of urban planning and design, the concept of a “wicked problem” refers to the overwhelming social or cultural challenges that are difficult to describe and impossible to solve through conventional means. Indeed, such problems reveal themselves as “wicked” through their relentlessness to reach into overlapping areas of concern to affect a range stakeholders, who see the issue from different perspectives and propose varied solutions. Designed as a face-to-face forum where educators, students, and emerging professionals can discuss “Wicked Problems” in visual arts and humanities education, this session aims to foster creative thinking and collaboration among diverse participants invested in addressing pressing concerns in the field. Each speaker will introduce a specific wicked problem through brief remarks that frame the issue for discussion. Session attendees will then form small break-out groups based on their area of interest. Group discussions will be facilitated by members of the Education and Student and Emerging Professionals Committees. Additionally a Wicked Problems website (wickedproblems2019.caa.hcommons.org) will serve to archive ideas, allow for ongoing exchange, and provide access to those unable to attend the session.How Do We Create an Educational Pipeline that Will Introduce and Encourage More Diverse Populations to Pursue Arts-Based Careers?
Dahlia Elsayed
How Do We Prepare Graduates for the Lack of Sustainable Job Opportunities and Professional Placement in Arts-Related Careers?
Michelle N. Corvette, Belmont University
How Do Those of Us Entrenched in Academia Best Prepare Our Students for Careers Outside of the Relatively Narrow Professorial World that We Know?
Amanda S. Wangwright, University of South Carolina
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Constructing Criticality in Digital Art History
SessionPamela M. Fletcher
Bowdoin College
Anne Collins Goodyear
Bowdoin College Museum of Art
Thursday, 2/146:00-7:30 PMNY Hilton -- 2nd Floor -- Sutton SouthWith the introduction of digital methods into the history of art, numerous new strategies have emerged for doing art history digitally. Recognizing the concerns that some scholars have justifiably raised about the social, economic, and even political implications, or biases that may be embedded in the software and hardware on which such new techniques rely, this session seeks to explore what it means to do digital art history critically. At the same time, it contemplates what may be critical about sensitively adopting computational techniques to explore topics previously resistant to art historical analysis, such as markets, shifting view sheds in evolving built environments, and what it means to traverse spaces according to particular patterns. This session, then, explores the development of new art historical endeavors rendered possible through digital means. What information may be rendered accessible, and what remains or becomes unavailable for analysis in the digital era? Can we speak of a methodology or of an ethics yet? This session focuses on projects that have brought new visibility to understudied topics and that interrogate tools employed or developed to conduct a digital history of art. Far from privileging a technophilic stance, this panel seeks to encourage the thoughtful examination of digitally informed approaches to the creation of new scholarship and even new theoretical inquiry.Florence as It Was: A Digital Reconstruction of the Renaissance City
George R. Bent, Washington and Lee University
Chronicling Critically: Researching, Writing, and Publishing 250 Years of the Royal Academy’s Summer Exhibition
Baillie Card and Tom Scutt, Paul Mellon Centre for Studies in British Art
Queer Vernaculars and the Digital Ethics of Display
Horace D. Ballard, Williams College Museum of Art
Promises and Precautions about AI and Automated Image Matching
Jorge Sebastián Lozano, Universitat de València
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Creating a Community of Scholars for a Community of Learners: Smarthistory as a Platform for the Discipline of Art HistorySessionBeth Harris
Smarthistory
Steven E. Zucker
Smarthistory
DISCUSSANT
Naraelle K. Hohensee
Smarthistory
Thursday, 2/146:00-7:30 PMNY Hilton -- Concourse -- Concourse GMillions of people around the world want to understand the history of art, and many have no access to an art history classroom or to an art museum. At the same time, the discipline of art history is devalued. We have a responsibility that goes beyond our own scholarship—a responsibility to provide access to our work and to demonstrate its value. This is Smarthistory’s mission. Hundreds of art historians, curators, conservators, and archaeologists share this mission and are helping to make rigorous yet accessible art history available for free (and ad-free) to anyone with access to the web. This unprecedented consortial model means we can demonstrate art history’s value by constructing new narratives that are global and cross-disciplinary. Projects currently underway include ARCHES, an NEH-funded effort to bring issues of endangered cultural heritage into the art history classroom, and Seeing America, where we are partnering with more than a dozen museums to tell a more inclusive history of American art—one that can introduce art historical methods into the American history classroom. This session explores ways that the Smarthistory platform has been used to address issues that have traditionally constrained our ability express the complexity involved in representing art history, including the mobility of objects, cross-cultural interaction, rethinking existing frameworks, and issues of access. Smarthistory aims to speak with more voices, reach new audiences, and add a counterweight to the hierarchical legacy of our discipline.New World Orders: Mobilizing and Re-Mapping Art History Online
Elizabeth Rodini, Johns Hopkins University
Smarthistory, Advocating for World Art History
Lauren G. Kilroy-Ewbank, Pepperdine University
Sharing Islamic Art with the World: Smarthistory.org as Public Scholarship
Elizabeth Macaulay-Lewis, Graduate Center, City University of New York
(Sm)Art(history) through the Ages: Using Smarthistory as a Survey Textbook
Erin Thompson, John Jay College, City University of New York
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Redefining the University Art GallerySessionAlyssa Rose Bralower
University of Illinois Urbana-Champaign
Thursday, 2/146:00-7:30 PMNY Hilton -- 2nd Floor -- Nassau -- WestThis session will explore various ways that curators, faculty and post-secondary students have leveraged university art galleries to challenge pedagogical, historical and artistic expectations within higher education. In the spirit of the self-reflexive and radical turn in curation proposed by scholars such as, Molesworth and Bishop, this panel considers how university art galleries can be sites for the production of knowledge and the dissemination of perspectives normally excluded from academic and art discourses. Working from Moten and Harney’s conception of the Undercommons, this panel also considers how university art galleries can operate as spaces of refusal. Panelists present experiences, discussions, or case studies/examples of artists or exhibitions that creatively and effectively make use of a university/college art gallery or museum.Land Grant: Mining the University
Allison Rowe, Art Education
A Performance Place for One Person: Maria Nordman and the California University Art Gallery
Elizabeth Gollnick, Columbia University
White Feelings: An Affective Indulgence
Albert Stabler, Appalachian State University
Hammering the Wedge: Toward a Permeable, Engaged New University Art Gallery
Carolyn Jervis, MacEwan University
SEWW: Women's Wrestling and the University Art Gallery
Katie Geha, University of Georgia and Kaleena Stasiak, Southern Alabama University
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Walking Out of Class: Putting the “Ped” in PedagogySessionCarol N. Padberg
University of Hartford
DISCUSSANT
Amanda B. Carlson
University of Hartford
Thursday, 2/146:00-7:30 PMNY Hilton -- 2nd Floor -- Sutton NorthOur world needs artists who can skillfully address the social, ecological, economic and cultural complexities of the 21st century. Considering that art provides effective conceptual tools for exploring and framing complex ideas, weâ€TMll consider the impact and benefits of an expanded pedagogy. More and more, art educators are “walking out†to make space for radical creativity and teaching. This panel addresses educational strategies for interdisciplinary fieldwork, community engagement, collaboration, service learning, and more. These strategies thrive outside of the academic bubble, often in unconventional places. With new technologies that support distance learning, even the term “outside of the classroom†is being redefined. While best practices for teaching students in the studio and art history classrooms are well known, the emergent pedagogy of the “living classroom†is still developing. How can we provide students with more opportunities to better understand their own perceptions of the world and how they act within it? How do we foster critical thinking in the fast-moving environment of "real life" field work? What are the ethics of this new educational philosophy? By providing examples of pedagogy on the move, we will consider benefits—and challenges—for art students, teachers, and institutions, as we take another look at the practice of walking out. Each presenter will speak about their philosophy, followed by a specific example of their teaching. A conversation will follow.Comportment, Commons, and Coproduction: Pedagogical Strategies for World Making
Matthew Friday, State University of New York at New Paltz and Iain Kerr, Montclair State University
A Gateway for Growing a Multiplicity of Identity
Andrew Oesch, Ghost and Robot
Walking the Talk
Beverly E. Naidus, University of Washington, Tacoma
Site-Specific Learning: A New Pedagogical Approach to MFA Textile/Fashion Tutelage
Umana Nnochiri, Cross River University of Technology
Eco Materialism and the Reconfiguration of Creativity
Linda Weintraub, Artnow Publications
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Working Together on the Frontier: Art Collaborations with STEAM across CampusSessionBarbara Westman
Slippery Rock University
Thursday, 2/146:00-7:30 PMNY Hilton -- 2nd Floor -- Gramercy East In the undergraduate level, within one semester, the studio art course curriculum provides students with a set of required competencies, as well as a developed confidence in creating art. The development of technical skills and conceptual growth does not seem to develop in a parallel manner. As a consequence, students lack confidence in their work which often leads to loosing interest. Their frustration is often expressed by decisions resulting in premature closures. Introducing an interdisciplinary collaborative project to the curriculum can provide an undiscovered source of inspiration, a diverse thinking and a new way of communicating with non-art partners. Engaging other disciplines with art results in discovery of new territories for all involved. How does this intersection impact the art students, campus and community? While art and science collaborations have been discussed and successfully applied in academia before, the intention of opening students to finding inspiration through collaboration with science can at first be seen as mission impossible. The unexpected realization of availability of ideas resulting in a collaboration is a rewarding experience. This panel seeks to examine the ways collaborative projects intersect between the arts and other disciplines, fostering intellectual growth and creativity.Interdisciplinary Projects in Art Curriculum: An Important Part of Higher Education
Barbara Westman, Slippery Rock University
Print Media in the Ecosystem of Fermentation Sciences and Sustainability
Johnny Plastini, Colorado State University
Kinetic Art, BioArt, and Artbotics: Navigating the Sciences in Academia as an Artist
Ellen E. Wetmore, University of Massachusetts Lowell
Rewards and Reworkings of STEAM Collaboration
Martha L. Carothers, University of Delaware
ICAN—Center for Arts in Nursing
Rich Gere, Texas A&M University–Corpus Christi
The Skilled Observer in Art and Science
Paul R. Solomon, Western Michigan University
39
Collaborations in and out of the Classroom: New Ideas and Interdisciplinary Approaches

COMMUNITY COLLEGE PROFESSORS OF ART AND ART HISTORY
SessionSusan M. Altman
Middlesex County College
Friday, 2/158:30-10:00 PMNY Hilton -- Concourse -- Concourse AIn both Studio and Art History classrooms, faculty have reached out beyond their disciplines to work on innovative collaborations that expand traditional pedagogy. Collaborations occur among related or unrelated studio disciplines, between art history and the studio, with disciplines outside the arts, and with industry, educational institutions, the public, galleries and museums. The most fruitful collaborations go far beyond group work for assignments. What new ideas can we bring to collaborative learning? How can our collaborations make for better students? What new ways can we engage students in the 21st century? In what unique collaborations are you involved with at your institution? This session brings together panelists to share "best practices" and present innovative ideas for collaborations that support student learning in both art history and studio courses. The panel sponsored by the Community College Professors of Art and Art History but includes unique collaborative projects from both two and four year institutionsCurating an Audience
Dianne A. Pappas, Northern Essex Community College
Look Here! Artists Transforming the Archives
Marc A. Tasman, Univ Of Wisconsin-Milwaukee
Art in Spatial Context: Integrating GIS Projects into Art History
Polly R. Hoover, Wright College, City Colleges of Chicago
Publishing Culture: Lessons from a Collaborative Practicum
Paul Jaskunas, Maryland Institute College of Art
Progressive Pedagogy: An Interdisciplinary Approach to Collaborative Design
Darren F McManus and Peter Stupak, Raritan Valley Community College
From Classroom to Museums in FLUX: A Teacher-Student Collaborative Work for Venice and Istanbul
Jeffrey M Baykal Rollins, Independent Artist
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Decolonizing Design Education: A Contextual-Pragmatic Approach.SessionPouya Jahanshahi
Oklahoma State University
Friday, 2/158:30-10:00 PMNY Hilton -- 2nd Floor -- RegentIgnoring the shift in student bodies and society as a whole, the Eurocentric pedagogical perspective still dominates the realm of academia and design pedagogy in the United States. While the need to implement alternative perspectives towards inclusive design pedagogy persists, the awareness of this need has arguably become increasingly tangible.Yet decolonization as it applies to design pedagogy remains an ambiguous realm for most practitioners. Expanding upon the robust panel discussion at last year's CAA Conference, this panel seeks to move the discourse forward by focusing on design education in order to exchange alternative pragmatic approaches to pedagogical frameworks. We will seek to respond to the following questions, among others: What are the nuanced colonial characteristics within the current realm of American design pedagogy? What constructs lie behind the current design pedagogy and how can they be addressed? What pragmatic strategies can be implemented, from institutional as well instructional frameworks, to start the gradual transformation towards a decolonized pedagogy? What pedagogical models may be adopted by US academia to address the lack of non- Western perspectives and content? What lessons could be learned from European strides made on this path? What are interim steps and resources needed to allow implementation of decolonization perspectives? American Design Pedagogy: A Critical Look Within
Lorraine Wild, N/A
Major/Minor Graphic Design History
Silas Munro
Decolonizing : A European Perspective
Alice Twemlow, School of Visual Arts
Shifting Design Pedagogy: Beyond a Connoisseurial Approach
Dori Griffin, Ohio University
The Assignment Problem: Making a Case for Critical Analysis of Design Assignments
Aaris A. Sherin, St. John's University
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Co-creating national standards for teaching and working with artistsRoundtableHeather Pontonio
Emily Hall Tremaine Foundation
Friday, 2/1510:30-11:30 AMNY Hilton -- 3rd Floor -- Americas Hall II -- Blue Tablewww.ArtistsThrive.org is a crowd-sourced platform that is guiding artists and those working with artists to improve conditions under which artists can thrive. Learn more about the current tools that can be shared with students today and add your input to the Higher Ed tool now in development.
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#MeTooCAARoundtableClaire L Kovacs
Augustana College
Friday, 2/1510:30-11:30 AMNY Hilton -- 3rd Floor -- Americas Hall II -- Red Table
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Art and Design Pedagogy: Topics in Grading
SessionNatasha Haugnes
Academy of Art University; California College of the Arts
Friday, 2/1510:30-12:00 PMNY Hilton -- Concourse -- Concourse AFaculty artists and designers often bear an uneasy relationship with the challenges and responsibilities of grading undergraduate student work. This discomfort may stem from concerns that grading squelches motivation, or that grading somehow relegates art to a mere checklist of skills and facts to learn. These concerns are well- founded—some grading practices can indeed demotivate students and oversimplify the creative process—and they are rooted in what Plato referred to as the “ancient quarrel” between philosophy and poetry. Yet the rigorous practice of art and design, inseparable from the process of critique, involves assessment every step of the way. Instructors who are able to frame grading as an extension of this rigor—who are able to integrate grading into their approach to teaching and learning—can actually use grading practices to enliven the teaching and learning in their classes. The panelists in this session represent a diverse range of institutions and practices; they have been examining, discussing, and writing on grading practices in creative fields for over 20 years, both as a team and as individuals. Presentations will address the historical foundations for the "can you grade art?" debate; a method to create and use grading rubrics that enhance student creativity; and considerations for critique in traditional and online environments. Participants will have the opportunity to identify specific takeaways about how thoughtful grading practices can serve as extensions of their own art and design teaching practices. Exploring the Tensions between the Interpretive and the Generative
Hoag Holmgren, N/A
Critiquing in the Online Environment
Martin A. Springborg, N/A
Rubrics for Artists and Designers
Natasha Haugnes, Academy of Art University; California College of the Arts
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The Practice and the Other Practice: The Relationship Between Making Art and TeachingSessionCourtney Lynn McClellan
Coe Lapossy
University of MassachusettsAmherst
Friday, 2/1510:30-12:00 PMNY Hilton -- 2nd Floor -- Bryant SuiteThis panel intends to address the contingent or contentious relationship between a studio practice and a teaching practice. Rarely addressed professionally, but often spoken about privately, this public dialogue attempts to bridge the theory of pedagogy with the day-to-day actions of a working artist who teaches. Looking to models like John Baldessari or Frances Stark who address teaching in their work, alongside the work of an artist
like Paul Thek, who is known for his educational strategies, the panel will unpack how artists teach. Participating artists are encouraged to include images, methods, and storytelling, in order to ground the conversation in anecdotal evidence. Discussions include: school as a context for making work, personal identity as an artist/educator, lessons learned in the studio and classroom, or interrelated challenges of the art and academic markets. More than simply seeking balance, how do these practices work in concert, or at times, compete for one’s attention? What does the precarity or assurance of one profession provide to the other? From a position of inquiry, we ask, how does your work as an educator influence what you do in your studio? And, how does your work as an artist impact your performance as a teacher?
Constellations of Objects: Material Reuse as a Bridge Between the Classroom and the Studio
Susannah Kite Strang, Arrupe College of Loyola University Chicago
Activating the Art Object through Conversation and Re-contextualization
Priyanka Dasgupta, New York University
Sites for Inclusive & Critical Pedagogy
Deepanjan Mukhopadhyay, University of North Carolina at Chapel Hill
A case study: radical reThink
S. E. Barnet, University of Suffolk
45
Pedagogy Workshop: Five Activities in Collaboration and Contemplation to Add to Your ClassroomWorkshopBFAMFAPhD
collective
Friday, 2/1511:00-12:00 PMNY Hilton -- 3rd Floor -- Americas Hall II -- Workshop Room 1This workshop focuses on the power of collaborative and contemplative pedagogy when teaching art. The workshop activities, attunements, individual agreements, group agreements, and asset mapping are featured in Making and Being: A Guide to Embodiment, Collaboration and Circulation in the Visual Arts, a multi-platform pedagogical project of practices and analyses for artists.
Free and open to the public, however, advance registration required, click here. Depending on availability, tickets may be obtained on-site in the conference registration area.
This workshop is generously supported by the Emily Hall Tremaine Foundation.
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The State of the SurveyRoundtableHeather A. Horton
Pratt Institute
Friday, 2/1512:30-1:30 PMNY Hilton -- 3rd Floor -- Americas Hall II -- Blue TableOver the last decades, scholars and teachers have transformed the Introduction to Art History survey course. This roundtable will discuss those transformations, encompassing questions of content, organization, textbooks and online alternatives, as well as inclusive pedagogy. Strategies for approaching a global survey that speaks to students today are especially welcome.
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Content Advisories: Productive Discomfort in the Contemporary ClassroomWorkshop
Hope M. Childers
Alfred University
Friday, 2/152:00-3:00 PMNY Hilton -- 3rd Floor -- Americas Hall II -- Workshop Room 1This workshop demonstrates a new approach to dealing with discomfort in an academic setting. Students of art and art history necessarily examine difficult, provocative, even distressing material in the college classroom. Our Content Advisories Module includes six adaptable discussion exercises, enabling faculty and students to navigate position taking, empathy building, and communication.
Free and open to the public, however, advance registration required, click here.
Depending on availability, tickets may be obtained on-site in the conference registration area.
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Reflecting the Diversity of America’s Community College Students in Art Historical SurveysRoundtableOlivia Chiang
Manchester Community College
Friday, 2/152:00-3:00 PMNY Hilton -- 3rd Floor -- Americas Hall II -- Yellow TableThis topic was inspired by conversations held at the 2017 CAA Conference. Community college art history instructors need an opportunity to meet and to share ideas concerning how to make our art historical surveys representative of and relevant to the spectrum of diversity among our students.
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Surviving Burnout by Supporting OthersRoundtableLaura Rodman Huaracha
Carthage College
Friday, 2/152:00-3:00 PMNY Hilton -- 3rd Floor -- Americas Hall II -- Red TableBurnout. It has hit me hard. I wondered why I was a professor, why students seemed disengaged, and why my fire was dimming, for my calling that I am so drawn to. How can we learn from each other, and help each other to find our fire again?
50
The Procreative ProfessorRoundtable
Lauren Frances Evans
Samford University
Friday, 2/152:00-3:00 PMNY Hilton -- 3rd Floor -- Americas Hall II -- Green TableStudies have found that fathers and childless women are three times more likely to get tenure than women with kids. Are there ways that our institutions can better support professors that are also parents, or hope to become parents? Are there models of mentorship for to support our procreative faculty?
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The Teaching Process, Communication and Student PerceptionRoundtableLeda Cempellin
South Dakota State University
Friday, 2/152:00-3:00 PMNY Hilton -- 3rd Floor -- Americas Hall II -- Orange TableAcademics from all disciplines and institutions at different stages of their professional development gather to share ideas, strategies, anecdotes, successes and failures, aimed at increasing awareness of instructors’ communication strategies that optimize classroom interactions, student perception of the course’s relevance, understanding of assignments, and investment of time and energies.
52

Teaching Art Theory and Criticism in Undergraduate Studio Art Programs
Session
Ann Bangsil Kim
Friday, 2/152:00-3:30 PMNY Hilton -- 2nd Floor -- Bryant SuiteWhile knowledge in contemporary art practices, criticism, and theory is highly stressed in graduate programs and the contemporary art world, many smaller and understaffed undergraduate programs struggle to find the most effective way to develop a studio art degree curriculum that is embedded with a rigorous dose of exposure to art theory and criticism. It is standard for studio art majors to be required to take art history survey courses and perhaps one course in contemporary art history, but that is rarely the norm in small and medium sized universities with smaller art departments. What are the best ways to incorporate theory and criticism in undergraduate studio art programs especially when the program does not have an art critic and the studio classes do not seem long enough to have it be embedded into the syllabus? Is it more difficult to do so in courses that focus on more traditional media such as painting and drawing compared to new genres or social practice? The session seeks to highlight papers from instructors, art critics, and graduate students who can share some of their most successful endeavors in this area. Teaching the Theory and Practice of Erasure in the Undergrad Classroom
Thomas Stubblefield, University of Massachusetts, Dartmouth and Thomas Spencer Ladd, University of Massachusetts Dartmouth
Theory Embodied: Life Drawing Re-Imagined
Christopher E. Lonegan, Loyola University
Learning (Art Criticism) by Example: The Exhibition Proposal Assignment
Mary Slavkin, Young Harris University
Gained in Translation
Matt R Drissell, Dordt College
53
Teaching to Audience: Adapting Lesson Plans to Diverse CommunitiesWorkshop
Suzy Kopf
Friday, 2/153:30-4:30 PMNY Hilton -- 3rd Floor -- Americas Hall II -- Workshop Room 2As an adjunct teaching at a community college, a prominent art school, and a world renown university, I think about my audiences constantly and how to best teach to their various interests and goals. This workshop will focus on reframing lessons to appeal and land with diverse groups of people.
Free and open to the public, however, advance registration required, click here.
Depending on availability, tickets may be obtained on-site in the conference registration area.
This workshop is generously supported by the Emily Hall Tremaine Foundation.
54

Education for Arts Organizing
Roundtable
Daniel Oliver Tucker
Moore College of Art and Design
Friday, 2/154:00-5:00 PMNY Hilton -- 3rd Floor -- Americas Hall II -- Green TableThis roundtable comes from a recognition that many artists become "arts organizers" but it rarely figures into the curriculum of a typical art program. We will discuss supporting aspiring arts organizers to develop skills in fundraising, marketing, programming, negotiating medium-specificity in education, ethics of community engagement and place-based practice.
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Education in Studio Art - Are PhD's the next step?RoundtableSean Mueller
University of Oklahoma
Friday, 2/154:00-5:00 PMNY Hilton -- 3rd Floor -- Americas Hall II -- Yellow TablePhD programs in Studio Art are beginning to emerge at Universities around the world. This round table discussion seeks to address the topic of the PhD as the emerging terminal degree for visual artists. Is the PhD the next step? If so, how can we shape pedagogy of this degree?
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Putting Teaching into Practice: Professors as Curators in College and University Teaching MuseumsSessionHorace D. Ballard
Williams College Museum of Art
Brown University
Friday, 2/154:00-5:30 PMNY Hilton -- 2nd Floor -- Sutton NorthColleges and universities that boast a gallery or museum are increasingly asking faculty to serve as curatorial practitioners and curators to teach their area of expertise. In our global cultural moment of social media and political unrest, in which questions of intersectional identities and cultural appropriation often frame the way many students attend to works of art, how does the curator-professor balance the desire for pedagogical rigor with student disaffection with collections? This session aims for a discussion amongst the panelists and the audience, with projects, courses, and interventions that get at one or more of the following ideas: teaching in the gallery space vs. the seminar room; collaboration with faculty colleagues; invitations to various publics; town/gown relations; and collection-sharing consortiums.Cooperation, Collaboration, and Coalition: What the Pedagogy of a Gallery is Uniquely Equipped to Teach
Meredith Lynn, Florida State University
Fashion Collaboration: Art Historians and the Archive
Annette Marie Becker, N/A
Curating Curiosities and Wonders: Student and Community Collaborations in a University Teaching Gallery in Newport, RI
Anthony F. Mangieri and Ernest Jolicoeur, Salve Regina University
Teaching into Practice in 'Marking Time': A Class, an Exhibition, a Catalogue, a Collaboration, and a Foundation
Reva J. Wolf, State University of New York at New Paltz
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Teaching art entrepreneurship as a new paradigm for the 21st century art schools.SessionJacek J. Kolasinski
Florida International University
Friday, 2/154:00-5:30 PMNY Hilton -- 2nd Floor -- Bryant SuiteThe National Endowment for the Arts has reported in March 2018 that the arts contributed more than $760 billion to the US economy. There has been a rise in programs that explicitly address the links between creativity and the economy as part of more traditional curricular offerings. This session aims to explore the confluence of entrepreneurship and traditional studio training—often collectively described as “art entrepreneurship.” Entrepreneurship education within academic art and design departments has been introduced into university curricula to prepare graduates to actively participate in the process of building creative economies in our discrete communities. These initiatives have focused on a search for new strategies and prospects to empower young artists and designers to create more sustainable economic futures for themselves and foster their creative energies to re-envision our future and prepare them to solve society’s most pressing challenges. As art entrepreneurship disrupts existing educational paradigms, this session explores new approaches to develop sustainable models for the 21st-century art school. Presentations seek to expand and stretch the very meaning of art entrepreneurship.Stronger Together: The Resurgence of Hyper-localism
Michelle Carollo, NEW INC, New Museum and Rasu Jilani, NEW INC
Shifting Culture through Co-Curricular Pathways
Stephanie Chin, Maryland Institute College of Art
The Art-to-Work Incubator
Ellen E. Wetmore, University of Massachusetts Lowell
Art Entrepreneurship: Art School as a Foundation to a Sustainable Career
Michael Mark Azgour, Stanford University
Entrepreneurship in Art
Robert Hacker, Director of StartUP FIU- Florida International University
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Get Up, Stand Up: Contingent Faculty and the Future of Higher Education in the Visual Arts

FOUNDATIONS IN ART: THEORY AND EDUCATION
SessionNaomi J. Falk
University of South Carolina
Richard J. Moninski
University of Wisconsin-Platteville
Friday, 2/156:00-7:30 PMNY Hilton -- 2nd Floor -- Bryant SuiteIncreasingly, tenure-track positions disappear, contingent faculty numbers swell, and those who are left standing teach more classes. Is this sustainable? What are the consequences? What recourse do adjuncts and non- tenure-eligible faculty have to attain fair wages, benefits, and some semblance of job security? What remedies exist nationally and locally? How do prevailing popular attitudes about higher education, particularly in the visual arts, affect this issue? What inspiration may be found in recent actions by public school teachers across the country? On a personal level, how do we, and our students, deal with the stress of increasing course loads and instability. How do we support each other? Successes and pitfalls will be discussed.Happy Faculty + Happy Students = Happy Administration: Balancing Stakeholder Needs in Higher Education
Christopher L. Williams, N/A
This Isn't Working
Mark Stemwedel, N/A
Strengthening Adjunct Support by Mobilizing a Customized Mentorship Program
Laura Rodman Huaracha, Carthage College, Erin Marie Freeman and Chercy Lott, Savannah College of Art and Design
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Strategic Partnerships and the Future of the Academic MuseumSessionLiliana V. Milkova
Allen Memorial Art Museum
Shalini Le Gall
DISCUSSANT
Stephanie Wiles
Yale University Art Gallery
Friday, 2/156:00-7:30 PMNY Hilton -- 2nd Floor -- Sutton NorthAs academic museums continue to serve a broad spectrum of disciplines and interests, they are increasingly coordinating exhibitions, programs, and events in an effort to identify strategic partnerships and align with priorities across campus. This session will provide an opportunity to discuss such partnerships, and highlight methods for building and sustaining collaborations in ways that best serve a collective vision. It will further address lasting partnerships that have the potential to change the way the museum is seen as an academic division with a critical educational role on campus. Academic museums already offer unique opportunities to students in the liberal arts and humanities, but they have a larger role to play in shaping the way students, faculty and staff in any field grow to be global interdisciplinary thinkers and socially responsible actors. Creating a Culture of Inquiry through Museum-Based Faculty Development
Jessica Hunter Larsen, Colorado College, IDEA at Colorado College
Developing Metaphoric Thinking through Art and Science
Jodi Kovach, Gund Gallery, Kenyon College
Reaching Out and Looking In: Academic Collaboration at the Colby Museum
Shalini Le Gall, Colby College Museum of Art
Site-Specific Teaching and Learning at Harvard Art Museums
Jessica Levin Martinez, Harvard Art Museums
Academic Partnerships and the Museum’s Broader Role in the College Experience
Liliana V. Milkova, Allen Memorial Art Museum, Oberlin College
60
Analogy + Interaction .. creating a context for curiosity through Games + Play

AIGA
SessionCary I. Staples
University of Tennessee
Saturday, 2/168:30-10:00 AMNY Hilton -- 2nd Floor -- Morgan SuiteExperience game-development technologies' ability to transform the teaching and learning processes. Instead of merely computerizing existing course content, this session seeks to bring together developers/educators who are embracing the affordances of the new gaming technology to radically re-envision the design of complex, effective learning environments. To create a place where students are active knowledge-builders, problem-seekers, problem-identifiers, problem-solvers, and, eventually, agents of social change. Situated at the intersection of technology and culture, this session will ask, “how can we create an environment that will engage students in
knowledge production? How do we move from a transfer model, to a participatory model of education?”
Educational Platforms for Immersive Student-Driven Learning
Zach Duer, Virginia Tech
Art and technology: historical approaches to video game pedagogy
Kelli Wood, University of Michigan
Understanding the Student Perspective of Art History Survey Course Outcomes Through Game Development
Josh Yavelberg, University of Maryland University College and Kelly T. Donahue-Wallace, University of North Texas
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Changing pedagogies: a history and evaluation of new curricular demands and deliverySessionSaturday, 2/168:30-10:00 AMNY Hilton -- 2nd Floor -- RegentFlipping the Art Classroom: Adapting Teaching Research to Art Pedagogy
Amy D. Babinec, South Suburban College
What's Going On? An International Comparative Study of PhD Methods in Art and Design
Jane Prophet, University of Michigan
The Populism of Allan Kaprow’s Experimental Pedagogy
Emily Ruth Capper, University of Minnesota
62

Incorporating Non-Native English Speakers in Art Classes
Workshop
Nichole Van Beek
Saturday, 2/168:30-10:30 AMNY Hilton -- 3rd Floor -- Americas Hall II -- Workshop Room 2Language barriers and cultural differences can make learning more challenging for nonnative English speakers. In this workshop, we will discuss specific difficulties teachers and students face, and outline strategies for bridging communication gaps, and incorporating the awareness of differences in language and culture into studio art classes.
Free and open to the public, however, advance registration required, click here.
Depending on availability, tickets may be obtained on-site in the conference registration area.
This workshop is generously supported by the Emily Hall Tremaine Foundation.
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Have, Want, Need: toward a Collective Approach to EducationWorkshop
Natalia Nakazawa
Saturday, 2/1611:00-12:00 PMNY Hilton -- 3rd Floor -- Americas Hall II -- Workshop Room 2This workshop is designed for educators and social-practice artists interested in social imagination: the awareness of the relationship between personal experience and society.
Through articles by educational theorists and thinkers, personal storytelling, and hands-on zine making, we will examine approaches to teaching that expand the narratives about what is possible.
Free and open to the public, however, advance registration required, click here.
Depending on availability, tickets may be obtained on-site in the conference registration area.
This workshop is generously supported by the Emily Hall Tremaine Foundation.
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Decolonization, Process and EducationSessionSaturday, 2/162:00-3:00 PMNY Hilton -- Concourse -- Concourse AThe presentations in this panel focus on individual and communal strategies aimed at challenging dominant economic, political, and cultural norms. The panel will present in alphabetical order, and the panelists and their presentations are as follows: Daniel Drennan ElAwar, speaking about decolonizing the illustration classroom; Nicole P Foran focusing on printmaking as a means of connecting students and artists from different cultural backgrounds; Arianna Garcia-Fialdini exploring artist's talks as a means of incorporating social problematics into diverse art classrooms and unconventional pedagogical platforms; and finally Dana Thurmond Hemenway examining the legacy of Minimalism as concerns fine art practices in relation to subversive points of view.Decolonizing Illustration: Rerooting Culture, Language, and Activist Practice
Daniel Drennan ElAwar, Emily Carr University
Translating Ink: How Printmaking Can Bridge Language Barriers
Nicole P. Foran, N/A
Educating Diversely: The Artist Talk Platform
Arianna Garcia-Fialdini, Concordia University
Paring Down: Minimalism, Craft, and Subversive Points of View
Dana Thurmond Hemenway, N/A
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Faculty Inclusivity: A Way Forward

COMMITTEE ON DIVERSITY PRACTICES
SessionFlora Brooke Anthony
Kennesaw State University
Nicole De Armendi
Converse College
Saturday, 2/162:00-3:30 PMNY Hilton -- 2nd Floor -- Sutton SouthThe Committee on Diversity Practices presents a workshop for CAA members interested in Diversity Hiring. This workshop develops on themes discussed at the Diversity Hiring Workshop hosted by the Committee of Diversity Practices at the CAA Conference in 2018. The session will consist of two parts: a PowerPoint on the current state of best practices in hiring diverse faculty, and breakout sessions of small groups with participants problem solving questions together. The function of this workshop is to find new, innovative, and creative ways to foster faculty diversity in higher education. Additionally, ideas and suggestions from last year’s workshop will be included in the discussion of how to fix aspects of this multifaceted and complex issue. Faculty Inclusivity: A Way Forward
Flora Brooke Anthony, Kennesaw State University
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Globalizing the Architectural History SyllabusSessionEliana AbuHamdi Murchie
MIT
Saturday, 2/162:00-3:30 PMNY Hilton -- 2nd Floor -- Morgan SuiteAt a time of rapid technological change and professional specialization, we can easily forget that the most important mission of schools and universities is to offer inspiring and horizon-expanding teaching to the next generation. Survey courses play a particularly important role as they open the world to students and help give them critical purchase on their own landscapes and lives. A good survey course balances breadth with depth, but in an ever-expanding world that balance can be lost. Meaning that the problem is not just how to teach students, but how to prepare teachers. The mission of the Global Architectural History Teaching Collaborative (GAHTC) is to provide cross-disciplinary, teacher-to-teacher exchanges of ideas and material, in order to energize and promote the teaching of all periods of global architectural history, especially at the survey level. In this session, we engage in a conversation about the pedagogical rigors of teaching global architectural history; we also delve into such complex questions as: what does it mean to teach global? What are the pedagogical approaches? And, most importantly, how do we decolonize architectural history? To that end, we will consider the various conceptions of what global architectural history has become to be understood as, and continue to challenge the intellectual longevity of the various approaches. We hope to arrive not at a consensus, but rather, through rigorous debate, to tease apart the meaning of global, and to discover if we are teaching global yet. Decolonizing Architectural Pedagogy
Shundana Yusaf, University of Utah
Mysterious? According to Whom? Globalizing the Architectural History Syllabus
Fernando Luis Martinez Nespral, Universidad de Buenos Aires
Are We Teaching Global Yet?
Eliana AbuHamdi Murchie, MIT
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Social Action, Censorship, and Campus Art MuseumsSessionPANELISTS
Paul Rucker
Artist
Daniel Bejar
Saralyn Reece Hardy
Spencer Museum of Art, University of Kansas
CHAIR
Hunter O'Hanian
College Art Association
DISCUSSANT
Celka Straughn
Spencer Museum of Art, University of Kansas
Saturday, 2/162:00-3:30 PMNY Hilton -- 2nd Floor -- Sutton NorthAs college and university art museums continue to take more active and visible roles across the full range of campus life, in what ways are they participating (or not) in social action and decolonization efforts, as part of their internal practices and within collections, with the curriculum, and throughout their institutions? What sorts of allegiances and partnerships can be formed? Whose voices and ideas become centered? Further, how do campus museums address issues of controversy and censorship, including self-censorship by museum professionals, as well as censor by parts of the campus community, administration, and/or communities external to the institution? This CAA RAAMP (Resources for Academic Art Museum Professionals)-sponsored session invites case studies and discussion from museum professionals as well as faculty and students to share and examine some of the actions and consequences emerging as campus art museums integrate more deeply into all aspects of their institutions, including the challenges facing higher education today.
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Technologies of Data and Visualization in Art and DiscourseSessionSaturday, 2/164:00-5:30 PMNY Hilton -- 2nd Floor -- Morgan SuiteWe Are Come Ashore into a New World: Mapping and the Microscope
Pamela Mackenzie, University of British Columbia
Visualizing Data Concerning the Canon according to Illustration Experts, 1830–1970
Jaleen Grove, Rhode Island School of Design
World of Matter: An Eco-Aesthetic Approach to the Complex “Ecologies” of Matter
Ana Varas Ibarra, University of Essex
For Posterity and Pedagogy: Using 3D Models and 360 Capture to Preserve Exhibitions
Francesca Molly Albrezzi, University of California, Los Angeles
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